Posts tagged with "Monuments":

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Shirley Chisholm monument designers discuss using space to honor a legacy

A green and golden lace-like structure will soon stand 40-feet tall at the southeastern edge of Brooklyn’s Prospect Park. From one angle it will unveil the profile of a woman and from another, the outline of the U.S. Capitol dome. That’s the winning design for the monument dedicated to trailblazing Congresswoman Shirley Chisholm. Created by artists Amanda Williams and Olalekan Jeyifous—both trained as architects—Our Destiny, Our Democracy was chosen among the top five proposals submitted through She Built NYC, the city’s new initiative to make more monuments dedicated to women throughout the five boroughs. The pair’s bold vision to honor Chisholm will be the first public project to be built through the program and is set to rise on the corner of Ocean Avenue and Parkside Avenues by late 2020. AN spoke with Jeyifous, a Brooklyn resident himself, and Williams via email about how they came up with the striking memorial design and why it best embodies Chisholm’s spirit. AN: How did you conceive of intertwining the image of the Capitol with Chisholm's profile? OJ + AM: It’s best described in our proposal: The U.S. Capitol dome figures prominently as a backdrop in many of her photographs. The strategy for our primary sculptural profile reverses this relationship so that her figure engulfs or embodies the dome iconography, thus claiming ownership. This composite symbolizes how she disrupted the perception of who has the right to occupy such institutions and to be an embodiment for democracy…When approached from the park, a symbolic opening breaks through the capitol silhouette, creating a threshold that reinforces Chisholm’s fight to ensure that everyone could access their right to participate in the political process. Not a basic bust or figure statue, why do you think this design best represents Shirley Chisholm and her legacy of "leaving the door open" for others? We are not sculptors (in the most traditional sense of the word) so we knew that we would not be proposing a cast bronze representation of a figure. We are, however, trained in how to use space as a medium. We both bring that into our artistic practices in different but complementary ways. That proclivity toward space as an occupiable object inherently begs to be participatory and invites engagement. That seemed like a perfect analogy to Chisholm’s philosophy on democracy. Making a sculpture commemorating this incredible political figure in our current climate is about remembering the long arc of democracy. Her words ring true because she was ahead of her time, but also because her philosophy was embedded in core values of inclusion and meeting people where they were in order to bring them into the process. We feel strongly that we have made a thoughtful and decisive piece that pushes the boundaries of what it means to embody the ideals of a person and not just their visage. What are the connections or differences between the monument's design and the traditional ironwork you might see in a gateway to a park? The design is ultimately a threshold into what is a major urban park and that is reflected in the vine and leaf motif that weaves through the monuments tertiary sculptural profile. This was an intentional nod to the traditional garden gate typology. Now that we’ve been awarded the commission, we will begin the process of actually researching specifics and refining the design. We want to do a deeper review of the historic language of gates and thresholds associated with public parks, that material language for Prospect Park’s history, and then what we would want to add as new motifs. In what ways do you foresee the sun playing a role in the way the monument is experienced? We envision at certain vantage points the patinated and bronzed steel to be a glowing beacon and for the detailed filigree in the screens and perimeter fence to cast marvelous shadows on to the plaza surface. That the installation can be occupied contributes to the various ways in which light will transform the experience of visitors to the site. Shadows will also give it dynamism and whimsy as the sun angle changes by day and year. Its intensity is also something we hope to carry into night hours through the considered placement of lighting.
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Hank Willis Thomas creates 25-foot-tall Afro pick for 5th Avenue

A new 25-foot-tall statue of an Afro pick now stands outside The Africa Center in East Harlem, New York. All Power to All People, created by conceptual artist Hank Willis Thomas, was erected last Friday in its temporary location on 5th Avenue. Designed in collaboration with the Kindred Arts cultural equity initiative, the steel sculpture is intended to honor and celebrate cultural identities of the African diaspora. Thomas worked with fabricator Jeff Schomberg to imagine the larger-than-life Afro pick, which sits at an angle on a black podium and features a handle in the outline of a clenched fist. The design is an iteration of Thomas's 2017 sculpture made with Monument Lab in Philadelphia for Thomas Paine Plaza. In connection with the Afro pick’s distinct cultural and political identity, the piece symbolizes the strength, comradery, and perseverance of the African-American community, as well as the ongoing pursuit for equal rights, justice, and belonging.  Marsha Reid, executive director of Kindred Arts and producer of the project, noted the important location of the installation. “Representation matters,” she said, “and this monumental art is placed here at The Africa Center in the heart of the community, with the purpose of inspiring conversation and facilitating a space where communities might affirm cultural citizenship and freely express identity.” All Power to All People will be on display through July 7, 2019, in the public plaza outside The Africa Center at 1280 Fifth Avenue in New York City. A slew of public programs will coincide with the monumental installation. For more information, visit The Africa Center’s website.
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See the top 5 proposals for Brooklyn's upcoming Shirley Chisholm statue

New York is apparently moving fast to bridge the gap in the number of public monuments dedicated to men versus women. Last November, the She Built NYC initiative announced its plans to erect its first statue of the political trailblazer Shirley Chisholm and just yesterday, the group unveiled the top five artist proposals in the running for the monument's design. Among the all-female finalists are Amanda Williams and Olalekan Jeyifous, Mickalene Thomas, Tanda Francis, La Vaughn Belle, and Firelei Báez. Slated for the Parkside and Ocean Avenue entrance of Brooklyn’s Prospect Park, the designs all feature grand visions of Congresswoman Chisholm’s “trailblazing” legacy. La Vaughn Belle Chisholm is well-known for the now-famous line: “If they don’t give you a seat the table, bring a folding chair.” Belle showcases Chisholm walking ahead of a sea of folding chairs, carrying one in her hand and stepping on what appears to be a symbolic presidential seal. The title of the piece, Chisholm Trail, alludes to her West Indian roots and how she empowered immigrants and people of all backgrounds by leaving a path for further equality in the United States. Mickalene Thomas Thomas described Chisholm in her proposal as someone who was “deeply in touch with the people” of Brooklyn. Her proposal shows the Congressperson sitting on a parked car, legs crossed as if in casual conversation, instead of at a podium or on a stage as a politician. Creating her figure at human-scale, the artist aimed to place her at eye-level with viewers in order to enhance engagement and encourage a communal atmosphere. “The monument is meant to highlight the fortitude of both Shirley Chisholm and the people she represents,” Thomas wrote in her submission. Amanda Williams and Olalekan Jeyfious Inspired by Chisholm's life as a civil servant—she was the first-ever woman and African American to seek the Democratic Party’s pick for president in 1971—Williams and Jeyfious envisioned the monument as a nod to Chisholm's legacy as someone who “left the door open” for others to pursue a place in politics and fight for equality. From one angle, the outline of the statue looks like the U.S. Capitol dome; from another, it’s Chisholm’s profile. According to the artists, this “symbolizes how she disrupted the perception of who has the right to occupy such institutions and to be an embodiment for democracy.” Tanda Francis The Chisholm Trail Memorial by Tanda Francis takes the form of a bold, bronze bust of Chisholm framed by vertical jets of water and light. A towering structure with her face looking upward in hope, the monument will feature a pathway surrounding the statue with Chisholm's inspiring quotes embedded into the sidewalk. Firelei Báez Báez’s monument centers around a series of 10- to 15-foot hand-painted metal columns. Inspired by the famous monument of Nelson Mandela in Howick, South Africa, the artist has created three portraits of Chisholm that reveal themselves when viewed from different vantage points. Each visage showcases different aspects of her public role and accomplishments. An aerial view of the sculpture reveals that the beams are arranged in the West African symbol of a bird, the Sankofa. The NYC Department of Cultural Affairs’ Percent for Art program has opened the proposals up for a public commentary period through Sunday, March 31. The winning design will be chosen in early April and is estimated to be built by the end of 2020.
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Four more statues of pioneering New York women are coming to town

Four more legendary New York women are set to be honored with permanent statues around the city: Billie Holiday, Elizabeth Jennings Graham, Dr. Helen Rodríguez Trías, and Katherine Walker. Their likenesses will be erected as part of She Built NYC, a near-year-old campaign started by New York City First Lady Chirlane McCray and former Deputy Mayor Alicia Glen to address the lack of monuments dedicated to the historic accomplishments of women in New York. Selected through an open call that drew over 2,000 nominations, these four new statues, along with the previously-announced piece honoring Shirley Chisholm, will bring a She Built NYC monument to every borough. Billie Holiday Queens Borough Hall, Queens American jazz legend Billie Holiday rose to fame in the 1930s with a powerful, soulful voice. Though she was born in Philadelphia and grew up in Baltimore, Holiday’s legacy also lives in New York where she moved in 1929 as a young girl. A theater dedicated to the prominent singer was built in Bedford-Stuyvesant, Brooklyn, in 1972 and recently renovated by MBB Architects in 2017. Elizabeth Jennings Graham Vanderbilt Avenue Corridor near Grand Central Terminal, Manhattan At just 27 years old, schoolteacher Elizabeth Jennings Graham stood up against racial segregation in the mid-19th century when she boarded a streetcar for whites only. She later wrote an account of the incident and filed a lawsuit against the Third Avenue Railroad Company and won. Because of her bravery, transit segregation was dismantled in New York and by 1860, all streetcar lines were open to African-Americans. Dr. Helen Rodríguez Trías St. Mary’s Park, Bronx Dr. Helen Rodríguez Trías was a lifelong public servant and pediatrician dedicated to advancing reproductive rights, and HIV/AIDS care and prevention, as well as serving communities of color. Her many leadership positions, from serving as the medical director of the New York State Department of Health’s AIDS Institute to being the first Latinx director of the American Public Health Association (APHA), allowed her to make a significant change to not only the medical landscape in New York City but across the country. In 2001, President Bill Clinton presented Rodríguez Trías with the Presidential Citizens Medal. Katherine Walker Staten Island Ferry Landing, Staten Island As the keeper of the Robbins Reef Lighthouse in New York Harbor for over three decades, Katherine Walker helped rescue about 50 sailors from shipwrecks during her tenure. She was appointed to the position in 1890 by President Benjamin Harrison after her husband died. Born in Germany, she immigrated to the United States just eight years before taking on the monumental task of overseeing all maritime movements in the Kill Van Kull, a shipping channel between Staten Island and Bayonne, New Jersey. According to She Built NYC, the new monuments will be commissioned through the Department of Cultural Affairs’ Percent for Art process, which means community input will be at the core of the artist selection and design processes. The search for the individual artists is expected to begin at the end of this year with the fully-built statues coming online between 2021 and 2022.
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Brooklyn is slated to erect two statues in honor of Shirley Chisholm

In a city boasting nearly 150 monuments of different men, pioneering politician Shirley Chisholm is set to get not one, but two statues in her honor. Both Mayor Bill de Blasio’s office and New York City Council Member Robert E. Cornegy, Jr., (D-36) have announced separate efforts to erect public artworks in Brooklyn memorializing the legacy of Chisholm, the first black woman elected to Congress. As a former educator and decades-long state legislator, the Brooklyn-born Chisholm inspired a whole generation of women to seek public office. She served New York’s 12th congressional district in the House of Representatives from 1969 to 1983 and was the first women to seek the Democratic Party’s nomination for president in 1972. The mayor’s effort to celebrate her life is spearheaded by She Built NYC, an initiative developed to honor the trailblazing historic women who’ve made an impact on New York. After being nominated during an open call this summer, Chisholm was chosen as the first woman in the program to be honored with a statue. It will be installed outside the Parkside entrance of Prospect Park in 2020. The artist who will design the project will be unveiled early next year.  Council Member Cornegy’s move to commemorate Chisholm’s work is part of a community cultural initiative aimed at highlighting people of color who’ve specifically influenced the Brooklyn neighborhoods of Bedford Stuyvesant, where Chisholm grew up, and northern Crown Heights. This statue, unveiled in a maquette, will be designed by renowned artist Sterling Brown, Jr., in conjunction with the Crown Heights North Association. It’s set to be installed by July 2019 in Brower Park by the Brooklyn Children’s Museum, a two-mile walk from the larger, Olmsted Vaux–designed Prospect Park. Hers will be one of four statues that honor some of the community’s iconic leaders. Once erected, Chisholm’s monuments will make her the city’s fifth female figure to be memorialized in bronze or stone. The Department of Parks announced in August that suffragette leaders Elizabeth Cady Stanton and Susan B. Anthony will receive a statue together in Central Park next fall.
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New Monuments for New Cities reimagines memorials for the current political moment

An upcoming traveling exhibition put on by Friends of the High Line will invite cities and local artists to imagine what monuments should look like in the 21st century. New Monuments for New Cities, the inaugural project of the High Line Network Joint Art Initiative, will feature 25 site-specific artworks set within five urban reuse projects across the United States and Canada. The public art showcase, running from February to October of next year, will take an important look at the role monuments have played in shaping cities and how they successfully speak to or, in some cases, misrepresent the people who live there. A diverse set of artists from each locale have been selected to submit proposals for the project in the form of posters. “As memorials to the deeply imbalanced history of the Western world are being torn down, the current moment demands critical thought and creativity about the monuments that adorn our cities,” said Chief Curator of High Line Art Cecilia Alemani in a statement. “These proposals from today’s artists offer an inspiring range of vision for how we might eternalize this point in society’s progress.” The posters or renderings will be projected for two to four months at a time within several major industrial reuse spaces in North America including the Buffalo Bayou in Houston, Texas; Waller Creek in Austin; The 606 in Chicago; and The Bentway in Toronto. The exhibition will finish its international tour on the High Line next fall, coinciding with the High Line Network’s annual meeting and its first public symposium.
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A bona fide alien abduction monument pops up in Manhattan's Battery Park

A very strange monument has popped up in Manhattan's Battery Park that alludes to a legendary UFO sighting in New York Harbor. Designed by Staten Island–based sculptor Joe Reginella, the curious memorial is dedicated to the six men aboard the tugboat Maria 120, which, according to Reginella, mysteriously vanished in July 1977. Reginella, who The New York Times called “the Banksy of monuments," crafted the NYC Tugboat Abduction monument out of weathered bronze in honor of local lore. Weighing a total of 300 pounds, it depicts a longshoreman kneeling beside an alien figure while looking up at the sky, or rather, an unidentified object flying away.  A plaque covering the pedestal of the four-piece monument tells the story of the long-lost Maria 120 and is “dedicated in their memory by Local 333 and the Honorable Mayor Edward I. Koch.” According to Reginella, the urban legend is that the tugboat and its crew, who were patrolling the waters between Liberty Island and Battery Park one summer night, mysteriously disappeared. The crew saw a streak of light shoot through the night sky before an aircraft of sorts crashed into the harbor. The crew radioed the Coast Guard to let them know they’d try to tow the vessel to shore, but when the backup help arrived, both the Maria 120 and the aircraft they claimed to have seen were gone. This isn’t the first seemingly-sincere memorial Reginella has made to poke fun at New York’s many word-of-mouth myths. He’s also done public art pieces dedicated to the Brooklyn Bridge Elephant Stampede and the apparent octopus attack that happened on a ferry near Staten Island. His work isn’t just fun, however—it’s educational. Reginella put together a website, a documentary trailer, and souvenirs to supplement the tugboat abduction story. His logo for the project features the Statue of Liberty with a UFO hovering over it. Interested viewers can even take a Harbor Mystery Cruise to learn more about the oddities that have taken place in New York Harbor. Since Reginella has to pack up and transport The NYC Tugboat Abduction monument every day, it’s periodically on view across from the East Coast Memorial. Catch it before it disappears forever.
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Getty Research Institute exhibition explores the meaning of monumentality

MONUMENTality, a forthcoming exhibition organized by the Getty Research Institute (GRI) that aims to consider how the meanings of monuments can change over time and why some monuments endure while others fall, is timely if nothing else. The exhibition is set to open on December 4 and comes amid widespread social upheaval that has questioned the legitimacy of long-standing monuments, historical figures, and works of art in contemporary culture. As long-venerated American heroes like George Washington and Thomas Jefferson see their legacies questioned, prominent entertainers and artists and their works face a reckoning in the #MeToo era, and historical monuments celebrating slavery and the American Confederacy fall across American cities, shockwaves have reverberated through society and the art world as a critical reappraisal takes place. The exhibition, which is curated by Frances Terpak, Maristella Casciato, and Katherine Rochester, seeks to take a more art history-focused approach as its curators analyze wide-reaching trends in monumental art, urban planning, architecture, land art, and other media in their search for answers to these contemporary questions. The wide-ranging exhibition investigates monumentality through several lenses and forms of being, including works generated through “systems of belief and structures of power” by showcasing historical rare books, political ephemera, photographs, and contemporary art from GRI’s collection that depict or have been inspired by monuments from antiquity to present day, according to a press release. The exhibition will feature works from many artists and designers, including: Dennis Adams, Annalisa Alloatti, Lane Barden, Mirella Bentivoglio, Joyce Cutler-Shaw, Tacita Dean, Theaster Gates, Leandro Katz, Michael Light, Benedetta Cappa Marinetti, Edward Ranney, Ed Ruscha, Ursula Schulz-Dornburg, and Lebbeus Woods, among others. Maristella Casciato, curator of architecture at the GRI said, “Monuments, though often meant to stand for eternity, can physically change over time—from erosion, looting, war, or iconoclasm—or they can stay intact but change in their meaning, losing context or relevance, or becoming integrated with daily life in new ways. And monuments can form organically, through the ways that people interact with the built environment.” Casciato added, “MONUMENTality investigates the ways that monuments are necessarily dynamic, ultimately reflecting, through their endurance or failure, the world around them.” The exhibition will be on view through April 21, 2019. For more information, see the exhibition website.
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Michael Graves Architecture completes the world's tallest statue

Gujarat, India, now boasts the tallest statue in the world. The nearly 600-foot-tall Statue of Unity, completed on November 1, is a bronze duplicate of India’s first deputy prime minister Sardar Vallabhbhai Patel. It was designed and master planned by Michael Graves Architecture & Design (MGA) and is intended to anchor what will eventually become a resort. The monument took eight years to design and four to build. Prime Minister Narendra Modi, at the time still the chief minister of Gujarat, first proposed the sculpture in 2010 and construction began in 2014. The statue proper, designed by Indian sculptor Ram V. Sutar, reaches nearly 50-stories tall and sits on a three-tiered base that boosts the height to its record-breaking status. The geometrically-sculpted base sits on its own riverine island and is connected to the mainland via a pedestrian and road bridge. Inside, guests are met with a visitor’s center, hotel, and an exhibition hall, all of which is topped with a memorial garden. Part of the challenge that MGA faced in designing an occupiable structure—a 500-foot-tall viewing platform in the chest is accessible through elevators that run through the statue—is the sculpture’s “walking pose.” The non-symmetrical pose posed a challenge in orienting the base, and MGA managed to hide the zig-zagging elevator system inside of the memorial’s flowing robes. Two structural concrete cores were used to anchor the Statue of Unity, which support the steel framework (cast from scrap sourced all over India) attached to the 2,000 tons of exterior bronze paneling. Vallabhai Patel was a central figure in the Indian independence struggle as well as the unification of India’s 567 British vassal states into one country. A rammed earth wall, constructed from dirt taken from every state in India, is used at the State of Unity’s base as a background for the national flag. The $460 million statue won’t be the world’s tallest for long, as similar megaprojects are already in the pipeline. The Spring Temple Buddha in China, knocked down to second place, is planning to add its own podium and boost its height from 500 feet to 682 feet tall, and a 695-foot-tall statue of the Indian warrior-king Chhatrapati Shivaji is slated to open off of the coast of Mumbai in 2020.
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The Museum of Trans Hirstory & Art (MOTHA) queers monument design

A show now up at New York City’s New Museum has invited a collection of artists to probe the fluid nature of transgender history (or hirstory, a portmanteau using the gender-neutral pronoun “hir”), and the role of monuments in America today. Consciousness Razing—The Stonewall Re-Memorialization Project, organized by artist Chris E. Vargas and the Museum of Transgender Hirstory & Art (MOTHA), challenges how public monuments, even LGBTQ-oriented ones, can exclude or diminish the contributions of not only trans people, but of large and complex communities more generally. Rather than putting forward one design for a trans-oriented Stonewall memorial, the show invited a range of artists to propose monuments that would grow and evolve over time. This amorphous approach is a reaction to the concretization of transgender history as trans communities become more widely accepted in the U.S. In June of 2016, President Obama made the Stonewall Inn in New York City a National Monument, the first to specifically highlight the LGBTQ community. The Inn was the site of the 1969 Stonewall Riots, when a group of patrons at the bar fought back against a police raid on the establishment and demanded to be treated with respect. The riots are frequently cited as the beginning of the LGBTQ rights movement in the U.S. An existing memorial of the riots, the Gay Liberation Monument, sits in the park opposite the inn, but it, along with other public remembrances of the riots, have been accused of remembering only the roles of white, cisgender people in the LGBTQ rights movement and forgetting the role that trans women of color had in leading the riots. This perceived history of exclusion is part of what spurred Vargas to solicit a kaleidoscopic range of ideas. “Constructing one single monument is an inadequate way to represent this history,” Vargas said. “There are so many queer subjectivities that have a stake in this.” In the New Museum show, 13 different artists have contributed their ideas for a Stonewall monument, all of which are represented in a site model of Christopher Park in the center of the gallery. The proposals at the New Museum are all a far cry from the politely-posed statues of the Gay Liberation Monument. Thomas Lanigan-Schmidt designed gleaming rodents to remember the riots, “that night the ‘gutter rats’ shone like the brightest gold.” Nicki Green put forth a pile of bricks, both a humble building material and the weapon thrown by Stonewall rioters at the police. Jibz Cameron imagined various scenes: dancing feet, the Stonewall’s notoriously dysfunctional toilet, and a “stiletto heel being slammed into the eye of a cop.” Chris Bogia opted for an abstracted facade filled with color and dangling with pearls, saying: "I want to make something that reminds every passerby that there was a riot in this place for LOVE and that it was full of color, and that we won." Vargas started MOTHA in 2013 as trans celebrities, like Laverne Cox, Janet Mock, and Caitlyn Jenner started to rise to national prominence. While a new era of trans visibility appeared to be dawning, Vargas noted that not everybody was getting included in the uplift: “It didn’t universally make things better in the trans community.” The visibility also began to harden some definitions, taking a range of identities, some of which had been purposefully vague, and standardizing them for a mass audience. MOTHA was a riposte to the notion that there could be any stable definition of what it meant to be trans and that certain trans people were more worthy of visibility than others. The conceptual museum was intentionally tongue-in-cheek, as much of a lampooning of the self-seriousness and strictures of genteel art institutions as a celebration of the diversity and range of queer culture. The campy institutional critique falls in the vein of the Guerrilla Girls, the feminist activist artists who for decades have used surreal imagery and savvy design to point out the discrepancies between how art institutions treat men and women. MOTHA's mission statement drives its campy sensibilities home:
The Museum of Transgender Hirstory & Art (MOTHA) is dedicated to moving the hirstory and art of transgender people to the center of public life. The Museum insists on an expansive and unstable definition of transgender, one that is able to encompass all transgender and gender-nonconforming art and artists. MOTHA is committed to developing a robust exhibition and programming schedule that will enrich the transgender mythos by exhibiting works by living artists and honoring the hiroes and transcestors who have come before. Despite being forever under construction, MOTHA is already the preeminent institution of its kind.
The artists participating in The Stonewall Re-Memorialization Project take MOTHA’s subversive wit into the contemporary political climate, one in which trans communities are again both under attack and fighting back. President Trump recently announced that he is considering reversing rules protecting the 1.4 million Americans who identify as transgender, while at the same time a historic amount of LGBTQ candidates are running for office and are poised to hold greater political power. Trans entertainers and performers are achieving recognition even as transgender people in the U.S. are being killed in record numbers. “There were always limitations in accepting and inclusion," Vargas said. “This political moment has highlighted the limitations.” Monuments have become a particular flashpoint in the U.S.'s fraught political climate, and Vargas says that he began the Stonewall project questioning the role of monuments. "I went into it with a real critical lens, but to be honest, I’ve become more understanding of the importance they play…There’s a way they can evolve over time." Vargas cited the influence of the work of the artist Isa Genzken, whose Ground Zero sculpture series imagined for the World Trade Center site in New York City a series of kaleidoscopic churches and discos instead of drab office towers. Like Genzken's sculptures, the Stonewall proposals embrace messy emotionality and exuberant vitality over orderly construction. The carnivalesque approach reflects the overall strategy for MOTHA, a roving institution that Vargas says will never have a permanent physical home. “At the heart of my approach to this project is an acknowledgment that once you start you canonizing, once you start making an official history, you have to start policing boundaries of what is or isn't considered transgender, and I don't think the identity category lends itself to that approach." Vargas added, "I don’t think it makes sense to have a traditional institution…It makes sense to have it exist as an evolving parasitic entity.” Which is not to say that Vargas wouldn’t want architects to imagine what a home for MOTHA could look like. “It’s been a dream of mine to have an architectural design competition for the institution,” Vargas said. Architects, take note.  Consciousness Razing—The Stonewall Re-Memorialization Project will be on view at the New Museum in New York City through February 3, 2019.
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Petitioners want to replace Buffalo statue of Dr. Martin Luther King, Jr.

Thousands of Buffalo, New York, residents are calling for an 8-foot-tall bronze bust of Dr. Martin Luther King, Jr., to be replaced with a more accurate portrayal of the civil rights leader. The Buffalo News reported that activists Samuel A. Herbert and Sylvester Herald have collected over 6,000 signatures since January for a petition to remove the gargantuan sculpture from Martin Luther King, Jr. Park in the Kingsley neighborhood of the upstate city. Created by renowned African-American artist John Woodrow Wilson in 1983, the sculpture hovers over a stone ledge inside the 50-acre park, which was designed by Olmsted and Vaux in the 19th century. Upon installation decades ago, the statue wasn’t widely praised for its likeness, but Wilson reportedly sketched the bust not to entirely resemble Dr. King, but rather, to look like an “everyman” that young black men and others could see themselves in. While the sentiment is still relevant today, locals want to honor Dr. King in the 21st century with a statue the mirrors his face and demeanor. Herbert and Herald aim to collect 4,000 more signatures before presenting the petition to local and state officials, and word is spreading fast. The pair’s goal is to begin fundraising and install a new bust as early as 2020.   The movement to remove and replace Wilson’s sculpture coincides with Boston’s effort to build a memorial dedicated to Dr. King and Coretta Scott King. The top five finalists for that memorial have already been chosen.
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Women's suffrage statue is coming to New York City

Looks like women are finally getting honored for their monumental achievements in both American and New York City history thanks to two initiatives pushing for more female representation in the city’s statues. The Elizabeth Cady Stanton and Susan B. Anthony Statue Fund and She Built NYC are setting precedents for bringing permanent public works depicting women to the streets in monument form. Last month, The Elizabeth Cady Stanton and Susan B. Anthony Statue Fund announced the winning design for an upcoming statue of the famed female suffragettes by sculptor Meredith Bergmann, whose piece will be erected in the park on August 26, 2020, just in time for the centennial anniversary of the establishment of women’s right to vote. Gothamist reported that the statue will showcase the figures cast in bronze and writing out arguments for women's rights on an elongated scroll. The pair is well-known for penning the lady’s liberation paper, The Revolution, which ran in print from 1868 to 1872. According to Gothamist, the organization said in a press release that they’re proud “to have broken the bronze ceiling to finally start the creation of the first statue of REAL women in Central Park’s 164-year history.” A monument for the women's suffrage movement has been in planning for several years. A request for proposals went out last November, to which 90 sculptors submitted designs. As Bergman's chosen design awaits approval by the New York Public Design Commission, a model of the statue is on view at the New York Historical Society through August 26. Another program helping to elevate women’s historical contributions to New York is She Built NYC, a new advisory panel put together by the De Blasio administration that’s dedicated to preserving and highlighting female figures in New York from 20 years ago or more. Through the City's Percent for Art program, She Built NYC will select nominated figures for public works projects to go up over the next four years. This fall, the panel will vote on the first submitted nominations, which were collected during an open call this summer. The Department of Cultural Affairs has already committed up to $10 million for these new public monuments. The chosen subject and site of the first project will be announced in January. “There are big gaps in our City’s public art, with few statues of women, trans, and gender nonconforming people,” said First Lady Chirlane McCray in a press release. “The message that lack of representation sends is that these people have no value and did not make contributions to our city. This first step we are taking will help us more accurately show the diversity in the people who helped make New York City so great.” The upcoming Elizabeth C. Stanton and Susan B. Anthony statue will mark the sixth statue in all of New York depicting a female historical figure. The others depict Joan of Arc, Golda Meir, Gertrude Stein, Eleanor Roosevelt, and Harriet Tubman. It will also be the first statue in Central Park’s 840 acres to honor real women. The other 23 statues are of men while the only two female statues are fictional characters Juliet and Alice in Wonderland.